Tenor Garrison serenades Faculty Spotlight audience

Jon Garrison, a tenor with Rowan’s department of music, held a vocal recital Monday night at Boyd Hall in Wilson, accompanied by Mitchell Vines.
The series began with the song “Ich Baue Ganz” from the opera “The Abduction from the Seraglio,” by Mozart, an intense and serious piece.
After the applause died down, the lights brightened and several were confused as to why the show was over so quickly. Garrison came back on stage and explained that the lights were on not because the recital was finished, but because he wanted attention to be drawn to the poetic lyrics of the next six songs he was about to sing, translated in the program for easy reading.
Under lights both stage and house, he began his next set of songs, “Six Songs” by Ernest Chausson, beginning with an almost whimsical piece called “Les Papillons,” or The Butterflies. Next was an upbeat piece called “Le Colibri,” or The Hummingbird, which made use of the 5/4 meter to reflect the unpredictable movements of the titular hummingbird. After was “Le Charme,” or The Charm, the lyrics expressing a love realized upon witnessing a first tear. The tone dramatically changed for the next piece, a somber, more drawn out song called “Le Temps Des Lilias,” which means The Time of Lilacs, which seemed to give the impression of snow falling, a sort of internal chill of the soul. The mood did not brighten as the next song called only “Nanny” filled the room, portraying the elegant sadness of a lost love. The last piece was the “Serenade Italienne,” which ended the set on an upbeat, positive note.
Garrison bowed, left the stage again and re-entered the stage. He spoke briefly about American poet Walt Whitman and his service as a Civil War medic. He then dimmed the lights and began the next set, called “Four Walt Whitman Songs” by Kurt Weill, with a song called “Beat Beat Drums,” which held an incredibly rhythmic, clipped and precise feel. Garrison did not waste a single breath. He then went into “O Captain, My Captain,” a eulogy to Abraham Lincoln. It was wistful without being whimsical, and ended with strength and drama.
“Come Up from the Fields, Father” was next, a song about a family getting letters from their son, who had gone off to the Civil War, only to receive a final one informing them of his death. The gentle, soft pace eventually gave way to a more somber tone, but still didn’t seem like a dirge. The final song, “Dirge for Two Veterans,” again seemed almost casual for the concept it was expressing, but held a certain underlying sadness.
The lights went on once more to allow reading of the program for lyrics as Garrison prepared to sing the final set of songs, called “Three Songs” by Francesco Paolo Tosti. The set began with “L’utimo Canzone,” which literally means the last song. It was fast-paced, reminiscent of a horse galloping over a field. It made very good use of tempo change and crescendo, retaining an almost palpable sense of drama the whole time.
The next song was “Avucchella,” or “A Little Mouth,” a lighthearted, almost humorous piece that has a style which makes one think “Italian” upon hearing the very first note. The last set ended with “Chitarrata Abruzzese,” or Guitar of Abruzze, an upbeat, almost overpowering song that served as an excellent end, cleansing the musical palate.
The recital was very good, the singing wonderful and the songs wisely selected. The only gripe was that the size of the room did not allow for great acoustics. This one flaw is forgivable amidst the countless other positives attached to the show.

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